Robot Cousin Soundworks

So, here’s a thing…

Sound effects by me, game by Svampson, or Patrik Riström. Sound’s not nearly done, but it’s something. Much more fine-tuning to go, of course. Needs footsteps!

Aside from this (and work), I’ve begun working in Unity3D, slowly-but-surely developing my own game. The idea I have isn’t original, and I’m fine with that. What matters is whether or not it’s fun. I’m aiming for it to be (really, who wouldn’t be aiming for that?) and so right now, I’m learning how to script proper physics. In my opinion, when it comes to side-scrollers, you can’t beat the ‘feel’ of Super Mario Bros 3. I don’t aim to beat it, I am to match it.

I’ll post more on the development as it comes along.

In other news, once again, I’m all set to try and make an album in the month of February. I’m planning on mixing shoegaze with chiptune. We’ll see how well that turns out.

An open letter to whomever is involved in Ghostbusters 3

I am a die-hard fan of Ghostbusters. Die-hard. This means that, because of my love for the franchise, I cannot be killed by conventional weaponry.

My pseudo-immortality aside, let’s discuss the goings-on of a possible GB3.

Now, everyone I know has, at one time or another, come up to me and mentioned “Hey, did you know they’re making a Ghostbusters 3?!” or “I heard Bill Murray IS/ISN’T (seriously, pick one) going to be in it!” because, apparently, my undying love for the busting of ghosts is fairly apparent to anyone I cross paths (…or streams?) with. And that’s totally fine! I love being that guy who’s madly in love with the films and cartoons (and novelizations, and toys, and play-doh, and…) based off of a group of scientists and blue-collared workers running a business that’s based on using electrifying science to trap nightmares in a box in their basement. I love it! I have been watching GB1 since I was 4 years old, and I saw GB2 in theatres. That being said, I already know what you’re going to tell me about GB3.

I don’t mean this as a gripe, I really don’t. I’ll just save you some time! Believe me (as “I am ready to believe you”), during my internet surfing, if the G-word pops up ANYWHERE, I click on it. I don’t care if I’ve read it before, I read it again, dammit.

So, with that being said, do I want a 3rd movie? Yes, and no.

Yes. I want more Ghostbusters. Who doesn’t? I want them to be in the public eye again, like Transformers and G.I. Joe are (though I’d rather not go down THOSE routes). I want toys to be sold again, I want new references dealing with spooks, spectres, and ghosts to permeate every facet of media as we all get caught up with ghost-fever once again, 30 years later (holy crap… 30).

But how are ya gonna do that, guys? Aykroyd, Ramis, and Reitman… those are actually the only 3 guys I personally would require to be involved. EVERYONE seems to believe that a 3rd movie hinges on whether or not Bill Murray’s in it. Don’t get me wrong, Peter is very important, but that’s just it… Peter Venkman is important. That levity, that casual, ongoing sarcasm, even the face of the some prehistoric bitch or Carpathian asshole is absolutely necessary, but there ARE others on this planet who can (and should) bring that to a new film.

No, I don’t want Galifinakis in there being all… Galifinakisy (nothing against him, if he can play someone other than all of the characters he’s already played, sure!). I don’t want Seth Rogen spewing loads of inappropriate (for a GB film) language because he’s today’s “it” comedic actor; I want a good mix of horror, special effects, and well-timed comedy. Comedy in the face of danger, comedy that’s not really sure whether or not it WILL “see you on the other side, Ray.” Don’t mix a bunch of sex into the whole thing, like Apatow usually does. Nothing against Judd, that works fine in his movies, but this wouldn’t (and shouldn’t) be “his” movie. Make a film that makes adults laugh in earnest, and makes younger movie-goers desperate for a proton-pack of their own. Give children the IDEA that, somewhere, there are cool guys ready to stand up and laugh in the face of whatever is hiding underneath your bed, and they don’t need to be as afraid anymore.

I don’t want a retread of the first and second films. Even though I love GB2 despite it being a LOT like GB1 (though not as much a carbon copy as Home Alone 2 is of its predecessor… seriously, those are the same movies), it still offered something different. If GB3 can offer something DIFFERENT, in terms of plot, I’m all for it. But holy shit, keep the chemistry the same, even if you get new guys. Yes, Aykroyd and Ramis (and Murray!) are WAY too old to be busting, but that doesn’t mean that no one else can, because I firmly believe that there is a combination of writing, directing, and acting that can truly break out the spirit of the first two films from the containment unit of creativity.

Please do it. Please don’t screw it up. I’m ready to believe it can happen.

Been a long time, comrade…

Such is the line spoken by Jack Krauser in Capcom’s ineffable Resident Evil 4. I use it both because it HAS been a long time, and also because I’ve been enjoying the HD re-release of RE4 on Xbox 360. I think it’s a damn fine title, and will always love it.

I’m slowly but surely becoming a game developer. I’ve screwed around with Stencyl for a bit, but I want to make something more than what that tool, while useful, could give me. I don’t want many limits, despite not being very code-savvy YET. When I get there, I want there to be avenues left to explore.

So I’ve decided to undertake learning Unity3D. I have about 10-12 game ideas, and one I’m specifically gearing towards as my first. The book I got, Beginning 3D Game Development with Unity by Sue Blackman, is REALLY informative, and is current as of April of this year (Unity changes a lot). I’m racing to learn it, not only to have a game out sooner than later, but also so the teaching remains relevant, and I learn about the new features as their added in upcoming versions.

I’ve wanted to develop my own games for years now, but it’s taken a LOT for me to kick myself in the ass to actually start.

Tonight, I started. And it feels amazing.

Here, have a demo. Amelia (early demo)

Three things!

1. Our (Phill Spies, Tan Teck Wong, and my) game, Psychopomps, has been noticed by DIYGamer! Check out their write-up here!
2. My good friend Andre has set up his own personal gaming blog, titled ControlPadBlues, and you can find that here! Please note that the design isn’t final; it’s still being worked on.
3. I’ve started down what I hope to be a long, interesting, and potentially exciting road towards developing my own games. Just starting in Flash for now, but it’s something, and it’s fulfilling. Working in film doesn’t do anything for me anymore, so I’ve more-or-less cut that part out of my life, almost entirely. This year’s Silver Wave Film Festival should be the last in which I have any of my work. Not unhappy at all about this.

So, coming up on Tuesday, 7pm, and Maclaggan Hall on the University of New Brunswick campus is the screening for this year’s entrants into Fredericton’s 3rd annual 48-hour Film Competition. Starting this past Friday night, and going for exactly 48-hours, each team must write, shoot, edit and generally produce a short film, with a maximum length of 10 minutes. This year, there are 10 or 11 groups, including ours, headed by Gradual Upgrade’s Travis Grant.

I’ve been on a fair number of film shoots, and this one was, by far, the most fun. I don’t think I’ve laughed so hard as I did when we were filming the conveyor belt scene with a character that was dressed in quite a distinguished costume.

Our film’s theme turned out to be that of a “70’s cop show/film” and once I was told that, I began writing as much 70’s-styled music as I could muster in the limited time. I came up with a few really good loops (at the risk of sounding conceited) and, while I haven’t seen/heard the finished film yet, I was told that it was all taken care of. That said, I believe I nailed it, though afterwards, about half a million signature 70’s riffs popped into my head, and, being without any of my equipment or instruments, I could do nothing about it. Ah well, so it goes.

I’m also looking forward to seeing what comes of the other groups who participated. I’m interested in seeing what they were able to pull together in the same time frame. See, each group had to submit a location, a prop, and a photo (or two props, not sure). We received a bowling alley as our location, a photo of a child, and a CPU heatsink that looked more like a bomb. We were able to successfully incorporate each element, though some more than others.

You can bet that I’ll be posting the youtube link once the film is uploaded. Until then, stay loud.

Been going through a few audio-related troubles as of late, but anyone who’s on my facebook (both readers of this website) already know the basics. I came home Friday to find that the Firewire light on my Presonus Firestudio was solid red (rather than its usual blue) when the unit was powered on.

Damn.

After troubleshooting my ass off, I basically learn that it’s the unit, and Presonus, because I’ve registered it, say that I can send it back, no charge, and they’ll fix it (also no charge). Yay for 1-year warranties! However, I took a guess at the date that I had purchased it, and called Long & Mcquade in Fredericton to confirm, because they keep EVERYTHING on file. I was off by 27 days (I registered the product and said it was purchased April 30th, but it was actually April 3rd.) Anyway, Graeme, who I originally bought it from, casually asked why I was needing that info, and I mentioned that it was because it was no longer working.

“Well, don’t worry, just bring it right into the Long & Mcquade in Moncton and they’ll send it off for you, and give you a rental unit of something similar at no charge until yours comes back.”

I practically had hearts in my eyes. So here I sit, after installing drivers, and updating firmware, with a Presonus Firestudio Project, one level down from the unit I own (the 2626 model. Main difference is that mine has additional ADAT connections). I could not be more pleased by the service I received from both Long & Mcquade and Presonus themselves.

And it turns out that, even if this had happened outside my warranty, it would’ve been about $90 to repair it. Considering the price and quality of the Firestudio (I stand by that my issue was caused by me, leaving it on when the computer is off, or in sleep mode), that’s a bit of a steal. Still, very glad I got it for free.

As for RPM, I am still considering getting started this year, albeit late. Honestly, I don’t feel as bad if I don’t do it, since I’m constantly writing new music (that I’m not allowed to post here) at work.

Speaking of which, I finally, FINALLY got my copy of EastWest Gold Symphonic Composers Collection. I’ll definitely whip something up in the near future for your listening pleasure, so you can hear the sheer Disney-esque quality of the sampled instruments.

In other news, Bombs Away is still being worked on. I’m also whipping up a theme song (just for fun) based on a webcomic/graphic novel my friend Ben produces (writes/illustrates) called Zom-Ben. That’s been years in the making, but I’m finally getting to it. Also, Ben and I have a project in the works that looks like it may actually happen, but I don’t want to jinx it too much by mentioning what it is yet, so I’ll just leave it at that. Let’s just say, this time, I might do it right.

Oh, and just to make this post at least somewhat interesting, even though I’ve posted this on Facebook, as well as my Twitter (oh yeah, I have a twitter now. @robot_cousin if you care about that kind of thing. I don’t even know if I do yet), but here you go again. The general sound of Bombs Away, thus far. Warning: Not mixed, not editing, and definitely not finished.

Bombs Away (demo medley)

Sonically yours,

Jordan.

I’m blown away. I have heard audio heaven, and it is programmed via FMOD. Now, years ago, I heard about FMOD and was immediately interested in it, but didn’t know where to go from there. I’m on a mac, so I don’t have access to UDK/UnrealEd to really test out whatever I could make in it (my Presonus and WinXP don’t play nicely together, so sound design via bootcamp just isn’t happening anytime soon). Plus, it was an extremely complex program. Needless to say, I was disheartened by what seemed like a huge brick wall in front of me, made worse by the fact that I could hear the wonderful, gorgeous, dynamic sounds of Bioshock on the other side of said wall.

Well, today, I’m just checking around online, and I pop over to my new favourite sound blog, Designing Sound. Right there, as the recent update was a post about how the FMOD dev team have begun posting video tutorials of FMOD. I excitedly started watching, and didn’t stop until I had seen them all. I didn’t stop because I couldn’t stop.

I think I’m in love. My heart is pounding, I feel dizzy, all I can think about is our future, myself and FMOD. And I wouldn’t be half as excited if I hadn’t brought it up to a few important people at work, and they genuinely took an interest in perhaps integrating this into our programming and games!

Wow. Wowee wow wow wow! /Walken

Now myself and my fellow sound designer can’t stop imagining all of the possibilities that would be opened up to us, if we start using this. Right now, the programmers take our sounds, just as we make them (music and SFX both) and just place them into the games. There may be some looping, or slight volume adjustments, but nothing truly dynamic. And to be fair, doing that is a TON of work, and it’s not like we just put out one game every 2-3 years.

But if we used FMOD (and I’ll admit, FMOD isn’t the only sound API out there, but it seems to be among the sleekest/most user friendly), then we, the sound designers, can have that much more control over our content, and exactly how it works in our games. Right now, if we have a game that involves tiles being smashed like glass, and they want a random sound, that means that we have to create 3-4 different sounds, and the programmers just set them up to play randomly.

With FMOD, as you’ll see if you check out the videos, I could take those same 3-4 smashing sounds, and put them into one smash ‘event’. I would then tell this event to randomize the pitch by a set number of semitones, randomize the volume from 0 to perhaps -3dbfs, increase the polyphony and timing, and voila! I’ve now created a virtually-endless set of sounds to occur, and all the programmers have to do is call on that one event. FMOD handles the rest.

This is something that I will definitely be pushing for. A lot of people may think of FMOD as something that’s used in most big-budget retail games, but it’s actually applicable to anything you may wish to program, outside of Flash.

Here’s hoping. Either way, I will definitely be spending a fair bit of time outside of work playing around with this, now that I at least know how to get started.

So, work begins on a bunch of new music. A part of me feels like I’ve been lazy, and then the rest of me slaps that first part upside the head, and I realize that I write music for a living now. True, it might not be exactly the type of stuff I’d listen to, simply because it’s not supposed to be, but hey, I love it nonetheless.

I was thinking of different ways to make it, swearing up and down that I’m done with 8-bit sounds. No more of them, none whatsoever, nuh-uh, it’s passed on by. And one day a couple of weeks ago, I was downtown, mentally humming to myself a really catchy tune, and planned the rest of the track out in my head. And to my surprise, it sounded very 8-bit. So I can’t escape, or rather, I guess I’m just ‘not done yet’.

There will be a difference, however, between the new stuff and anything/everything that appeared on Nothing Fancy. Part of what I said before was true; I definitely am done making 8-bit-sounding music, when everything on the track sounds like a retro-video game.

What I want to try is to mix some 8-bit leads, basses, rhythms, or a combination thereof with some actual drums. Piano. Guitar. Really rock the hell out, with a little help from my friends, Squarewave, Trianglewave, and Phasewave. Hey, even the noise channel, why not?

For three months now, all of the music I’ve been making has been under constant (though not negative) review. I can’t just sit down and make whatever I want. But being in that situation is only good, for it keeps me on my toes, and it really makes me feel like I’ve got to ‘get it all out’ when I’m making stuff outside of work. And that’s what this next album will be; me, and the melodies, rhythms, drums, chords that *I* want. It’s about that time that I finally unload some musics that are itching to get out.

Bombs away.

I was wracking my brain yesterday to find out what the significance of Sept 27th was, and it was only until I popped on to my own site that I was reminded. Two years (and a day) ago, a childhood friend was killed by a car while he was crossing a busy street. There are times where I still can’t believe he’s gone.

This is one of those times.

Peace forever, Brad.

-Jordan

Greetings!

It’s been a while. I’ve grown, you’ve grown…

The cause for my recent blackout-of-sorts is due to me finally making my way into the sound/game industry! I’m not going to name names, but I now hold the title of ‘Sound Designer’ for a company that develops video lottery terminal and digital casino games! Awesome!

Over the past… however long it’s been, I’ve moved cities, but still own my house back in Miramichi. We’ll probably be selling once my fiancee’s out of school, which will be next June. In the meantime, I’ll be working my ass off, being paid to write music and design sound. I still can’t believe I’m here, but I am, and it’s great.

Honestly, you may think that sound and music for these types of games or machines is an afterthought, but it actually isn’t, at least, no more of an afterthought most directors feel adequate sound is. This place really respects how important good sound and good music is, and with so many different projects coming out the doors, they’re keeping me QUITE busy. I’m still currently in my initial ‘ramp-up’ phase, which means they have yet to release the floodgates and dump a ton of work on my lap, but I’m getting myself prepared. Only a few gripes, I would say…

• Myself and the other sound designer are on PC’s, and we’re both Mac guys. Now, I’ll be the first to attest to the fact that you can pretty much do whatever you want on either system, but…
• I’m not able to use Logic, my DAW of choice. Instead, I’ve become acquainted with Propellorhead’s Reason (which I love) and also Cakewalk’s Sonar 8, which has taken some getting used to.

That, and I could definitely use more RAM. However, these being my only gripes, I would say that it’s pretty fantastic overall. So, what of this website?

Nothing’s going to change, although now, I’m not really hard-up for that much audio work on the side. I’ll still do it, and I’m still working away on other projects, but no longer am I really focused on Robot Cousin Soundworks as a business. It’s now more of a hobby. Besides, I can only dedicate myself for so many hours a day to music before calling it quits and taking a break.

I’m just thankful that I’m no longer tech support for people who hate me (in general). Bye bye web-hosting, hello composing.

I feel different, I feel changed. I don’t think I’ll look at everything the same way again. All because, for the last month or so, I’ve been lost in Mark Z. Danielewski’s House of Leaves.

I could give you the rundown of the synopsis, but I really don’t think that alone would do it justice. I found this novel to be about the impossibility of things. How does a house measure larger on the inside than it does on the outside? Impossible. How does a closet that adjoins two bedrooms just ‘appear’? Impossible.

How do you explain a door that leads to an unending hallway materializing on an outside wall?

Again, impossible.

The book grabbed me from the beginning, and held me, shook me, startled me, and downright frightened me until the very last page. Never have I experienced any form of media or literature that has made me feel like screaming and crying at the same time. This one… this one did both a few times. This is easily the most curiously terrifying novel I have ever read. And why? All because it feels so real, as if it could happen, while at the same time, shouting and spitting in the face of physics, science, and humanity. So real, yet so impossible.

In short, Johnny finds a very large manuscript in the apartment of a deceased neighbour. He tells us his story, while also showing us what was printed on the hundreds of pages he found. Within those pages lies a documentary-like description of a film entitled ‘The Navidson Record‘. It is within this film (which is within the manuscript, which is within this book… what?!) where the impossible questions lie. And at every turn of the page, I both did and did not want those questions answered.

‘The Navidson Record‘ is a short film that started off as an innocent project made by a famous photographer that wanted to document his moving to ‘the quiet life’ in rural Virginia. After setting up motion-activated video cameras all throughout the house, Will Navidson begins his project. It is with these cameras that we get to see exactly what the house itself has in store for everyone.

Again, I can’t stress it enough; I have never read or experienced anything like this book. I borrowed it from a friend, and the next time I’m near a bookstore better than the ones in this town, I’ll be buying my own copy. I also plan on buying a few more copies for some people who I truly believe should also experience this.

Will I ever be as moved and shaken by anything else again?

Impossible to say.

I’m not dead, I swear. Neither is this blog. It’s just that everything has happened at once, and it’s not even done yet.

More in a bit.

Quick update on the Sesame Street/Aniboom thing: We’re currently standing at #16, which is fine. I’m still excited to be up there as far as we are. We could always use more votes, but then again, I think it’s still totally awesome that NPH could actually see our video. And he might like it!

Onward.

I’ve recently discovered “Sleep is Death” by independant game developer/musician Jason Rorher. Rorher’s focus on emotional gameplay is still here, only it’s not longer up to him to provide it to the player. Instead, SiD tasks Player One with enjoying a storyline, setting and characters completely written and controlled by none other than Player 2.

Yes, that’s right; It’s a point-and-click adventure that’s played different each and every time you play it, because both players are crafting the game as they go. It’s a game-maker, of sorts, with a heavy emphasis on storytelling. Yes, people have been doing this for years with D&D, writing their own campaigns, setting up traps, being absolutely develish or angelic to the unsuspecting player, but to take the idea of that, and apply it to a 2-player-only point-and-click game introduces an element that may be sorely lacking in today’s big budget titles: excitement.

Since learning of SiD’s existence and checking out the card chest of completed stories (these pages are created once a game is finished, and you can sign-up and upload your own to the site), my mind has been aflutter with all of the weird little (or big) stories. Murder mysteries, sci-fi comedies, post-apocalyptic tales of danger and excitement. And yes, I know what the game looks like. Just by looking at it makes me want to recreate some of the amazing adventure games that Sierra used to make (Police Quest, King’s Quest, Space Quest… other quests).

So, if anyone reading this wants to have a go at it, let me know! Leave a comment or email me (jordan _at_ robotcousin.com) and we’ll share a story. It’ll be weird, irreverant, bizarre, and perhaps moving… or I’ll try and kill you with every step you take.

Fun!

So I was looking into seeing how other people managed to somehow come close to getting the ever-elusive ‘Pumpkins-tone‘, and I found this, which has to be one of the more musically-inspiring things I’ve read in a while…

Yeah, on a side note: I saw them live at Madison Square Garden in the late 90s. I had tickets to the show that was cancelled because their keyboard player overdosed and they kicked jimmy out of the band. So a few months later they played a makeup show. It was like an out of body experience. I though Id be disappointed because Jimmy Chamberlin is one of my favorite drummers, but the drummer from Tool filled in and rocked it.

Their intro literally brought tears to my eyes. The Garden was pitch black, and this piano loop started to fade in, real gradual for about 5-10 minutes. I forget what song they opened with, but they snuck on stage while it was still pitch black, and then they hit the opening chord and simultaneously these blinding white lights came on from behind the band and I swear it was like seeing God.

On a side-note of my own, the ending piano to ‘Farewell and Goodnight‘ will always ‘get me’. I tried to pay homage to it in my own way, but I don’t think it’s nearly as good.

Arg. Good problem to have.

Desperately trying to decide between Garritan Personal Orchestra v4 and Kirk Hunter’s Diamond (or Ruby or Emerald, so many options) collection.

The good people at LogicProHelp.com (which is currently down for whatever reason) suggest KH over GPO, so I’m inclined to believe them. But then there are others who say the opposite. Prices isn’t really an issue, but spending $149 vs $200+ is a bit of a game-changer.

What I want to know is, for the price difference, is KH an amazing deal, or is it just marginally better than GPO? If anyone reading this can give me some guidance, I’d definitely appreciate it.